Current & Upcoming Exhibitions

SITE Santa Fe presents a solo exhibition by New York-based artist Jacob Hashimoto from October 5, 2018 – March 24, 2019. This exhibition features a range of new and recent works as well as a site-specific installation that integrates SITElab’s unique architecture. The exhibition, entitled The Dark Isn’t The Thing To Worry About, explores the balance of the natural world, and Hashimoto’s longtime fascination with the intersections of painting and sculpture, abstraction and landscape. Exploring these intersections, Hashimoto creates distinctive works comprising hundreds of bamboo and paper elements strung together and suspended, forming complex layered compositions.His accretive works reference video games, virtual environments, and cosmology, while remaining deeply rooted in art-historical traditions, notably landscape-based abstraction, modernism, and handcraft.

Clouds have played a variety of roles as a visual element in the arts of Asia across time. As a stylized motif, clouds have often functioned as a framing device, an interstitial motif, or compositional boundary in paintings. A cloud could conjure anything from a celestial Daoist realm to lingzhi, medicinal mushrooms of immortality once believed to revive the dead. The generative and auspicious potential of clouds has long existed in the history of art. The amorphous nature of mist in dialogue with the tangible and rigid has long inspired the work of artists, designers, and architects, from Fujiko Nakaya’s cloud paintings and fog sculptures, to Diller and Scofidio’s Blur Building in Lake Neuchâtel. In today’s era of big data, clouds have also come to represent the negligibly small, where modular bits of information are now amassed into infinitely scalable systems that function at a distance, removed from sight but still lingering overhead.

Melvin Henderson-Rubio Gallery
Drawn from the vast collection of Jordan D. Schnitzer and His Family Foundation, the exhibition explores issues of race, identity, and social justice in contemporary printmaking and photography from one of the legendary print collections in the United States. Organized by Portland, Oregon, art historian and scholar Elizabeth Bilyeu, the exhibition features over 80 prints by 42 artists, including Enrique Chagoya, Lalla Essaydi, Mildred Howard, Hung Liu, Nicola Lopez, Wendy Red Star, Roger Shimomura, Kara Walker, and Marie Watt, among many others.

The Gallerie delle Prigioni are pleased to announce their second exhibition I Say Yesterday, You Hear Tomorrow. Visions from Japan, part of the research and interpretation of the numerous narratives contained within the Imago Mundi project.

Paper/Print: American Hand Papermaking, 1960s to Today, traces the development of hand papermaking as an artistic medium in the United States, both in conjunction with printmaking and in its own right, with over 65 other artists who have made outstanding work in the medium, from the 1960s to today. Representing a multitude of artistic disciplines, the works demonstrate how artists, papermakers, and publishers have together redefined and expanded the inherent creative possibilities of the papermaking process.

On Saturday, June 2nd, 2018 the Fondation Carmignac will open to the public on the island of Porquerolles to welcome visitors with the first exhibition curated by Dieter Buchhart entitled "Sea of Desire".

The collection of 300 works, shared since its creation in the offices of the finance company, celebrates American Pop Art from the 60s to the 80s, with iconic works by Andy Warhol, Roy Lichtenstein and Jean-Michel Basquiat, and masters of the 20th and 21st centuries as Gerhard Richter, Willem de Kooning, Martial Raysse, Miquel Barceló and Ed Ruscha, and opens up new horizons with the works of Zhang Huan, El Anatsui and emerging artists such as Korakrit Arunanondchai and photography and photojournalism.

Among the works of the permanent collection is the installation "The Impermanent, Shattered Peace Between Future and Past, All Written in the Sky"(2018) by Jacob Hashimoto.

Galerie Forsblom is delighted to present 'Deep In The Gravity Well', artist Jacob Hashimoto’s first solo exhibition in Stockholm. Since the late nineties, Hashimoto has gained international renown for his complex, intricate sculptures made from materials such as paper, string, and bamboo. 'Deep In The Gravity Well' Hashimoto will unveil 'The Dark Isn’t The Thing to Worry About', an expansive, large-scale resin sculpture, suspended by string from the gallery’s ceiling. The piece that reveals several lesser known, more recently developed facets of Hashimoto’s studio practice: A multitude of flat, kite-like components making up 'The Dark Isn’t The Thing to Worry About' face various directions, referencing traditions of both landscape and sculpture-in-the-round, while challenging and destabilizing viewers’ propensity to seek out established vantage points. By using resin, Hashimoto introduces an industrial, durable material to his practice that contrasts the elements of ephemerality and lightness of other works for which he is known.

The places of the mind: peripheral, original, abstract spaces where thought wanders in search of an ideal dimension. Fragile places in which to trace the coordinates of a possible space.
From Masuyama to Hashimoto, through Rovaldi, up to the last works of the Ottella Prize, a selection of works pays tribute to the twenty years of the policy of contemporary art acquisitions inaugurated in 1997 by the Achille Forti Gallery of Modern Art. Along the itinerary, the visitors will admire the large sculpture Tree III by Jacob Hashimoto – a work that examines the relationship between natural and artificial – and the lightbox Parigi-Verona by Hiroyuki Masuyama, the image of a flight that links the vastness of time and space in one 10-metres work.

Leila Heller Gallery is proud to present The Eclipse, an exhibition of new work presenting the artist’s strategies over a twenty-year career. Addressing the visual discourse of the post human, Hashimoto’s oeuvre also critically engages in the post digital landscape with at once strategies of the sublime and whimsy: interrogating, interrupting, and inventing contemporary extensions of space, through his own carefully legible grammar of artifice and perception.

Studio la Città opens on Saturday, September 16th, the exhibition: The Bike Connection, contamination between art and bicycles worlds, in collaboration with Dario Pegoretti and the historic company Brooks England that since 1866, produces prestigious leather seats. This is a show that pays tribute to bicycles, which this year sees the 200th anniversary of their invention, and did not come about by chance. In fact, for some years art and design have been receptive, and two of the gallery’s artists have a special relationship with them: the Australian Shaun Gladwell and the American Jacob Hashimoto, both linked for different reasons to bicycles, both as means of transport and as true lifestyle icons.

Jacob Hashimoto will present three large-scale installations, wall works, drawings, and prints at the Wäinö Aaltonen Museum in Turku, Finland this summer.

Hashimoto's art blurs the line between the works and the spaces that they occupy. This is the first time Hashimoto's art is extensively displayed in Finland. He is best known for working with light, kite-like elements, from which he constructs large-scale, minimalistic and colorful tapestries and installations.

Jacob Hashimoto and Emil Lukas, two internationally recognized American artists, have been
invited by Studio la Città Gallery to stage a site-specific show in Palazzo Flangini reflecting on "The End of Utopia."
As we move deeper into the Anthropocene, the cost of our ascendancy is becoming clear.
Decades of environmental exploitation have left us perilously balanced and wavering on every side: political, social, economic, natural, technological, and ecological. As many observers of the Anthropocene have noted with apt unease, humanity itself has increasingly become the perpetrator, rather than victim, of planetary chaos. In the midst of these conditions, Hashimoto and Lukas’s work addresses a question of newfound relevance: If art is arguably the interpolation of manmade schema onto nature - humankind’s order upon primordial chaos - then how does art’s meaning mutate, as we realize that the infrastructures, systems, and algorithms all originally designed by humans to bring utopia within reach, are in fact dooming its very viability?

VIP preview May 9, 10, 11 10:00am to 6:00pm

Opening with aperitif May 12th, 6:00pm - 9:00pm

On view from May 13th to July 30th, 2017 11:00am to 6:00pm (closed on Mondays)

Anglim Gilbert Gallery is pleased to present "My Own Lost Romance", a solo exhibition of new work by Jacob Hashimoto.

Over the past twenty years, Jacob Hashimoto has refined his innovative artistic form that draws from Western traditions of
painting and sculpture, the modular language of the digital age, and centuries-old techniques of construction in Japan. Like
paper constructions of holograms, his sculptures live in open space with hundreds of kite-like elements floating over one
another, allowing the eye and our 3-d perception to integrate surface and depth. Hashimoto’s shapes, graphics and colors
blend in an experience that brings light through and around his myriad small paper discs.

Mixografia is pleased to announce the release of new editions, produced in collaboration with New York-based artist Jacob Hashimoto. This series of Mixografia® prints is inspired by the artist’s practice of creating intricate installations from layers of rice paper and bamboo kites held together by fishing wire. The prints are composed of what appear to be delicate paper kites hanging by strings from atop a timeworn wooden surface, resembling the studies for installations that the artist creates in his studio.

With their arrangement of discs suspended from string, Jacob Hashimoto's works - occupying a place between painting and sculpture - bear resemblance to models of a complex planetary system. For this exhibition, Hashimoto builds on this correlation to meditate on mankind's enduring fascination with creating order of the world. The quest for knowledge represented in ancient celestial maps and bygone charts of the unknown serve as inspiration for new imagery and a new color palette.

The collective turn away from mystery, myth, and magic - an unfortunate and unintended result of rapid scientific advancement - resides at the crux of concerns driving Hashimoto's work, which recuperates our sense of wonder via layers of overlapping "kites" of intricate cut paper collage and bamboo. When seen head-on, compositions coalesce suggesting cryptic diagrams or coded maps, then dissipate into illegible fragments when the works are viewed at an angle, an effect analogous to processes of the Information Age: pixelization of images, digital signal processing, compression of data.

In the small gallery, Hashimoto presents a new installation work, a ten by seven-foot
square hanging column of resin-saturated paper modules. This medium - and its enduring physicality - represents a departure from earlier large-scale works, while the architectural
volume defined by the translucent discs recalls his acclaimed 2014 installations.

In addition to the new piece in Penrose, the Sheehan Gallery will open its fall season with another installation by Hashimoto: "Gas Giant Fragments and Silence", a new work that combines elements from two previous pieces. Both tie into the gallery’s yearlong theme of “local connections,” since Hashimoto spent much of his youth in Walla Walla.

Though he now lives and maintains a studio in New York, Hashimoto came to Walla Walla after third grade, and his father, Irv Hashimoto, was associate professor of English at the college. The town has “always been home to me. I’m really flattered and excited to bring my work back to Walla Walla,” he said.

"Gas Giant Fragments and Silence" runs from Aug. 26 to Oct. 7 in the Sheehan Gallery, while Hashimoto will give an artist talk about his work on campus on Sept. 24. - Daniel Le Ray

On the occasion of the MiArt and Salone del Mobile fairs, Studio la Città will be transferring to a temporary venue in Milan, DOUBLETROUBLE95, to propose an installation by Jacob Hashimoto: Never Comes Tomorrow, already exhibited with great success in Verona last May. This installation will once again be a proof of Hashimoto's maniacal interest in architecture, space and time, and the astral dynamics of planets and constellations. Proportions, relationships, and surfaces will be closely interrelated with the building hosting the large-scale installation, in this was concretizing DOUBLETROUBLE95's dream: to host the site-specific work of an important international artist.

Definable neither purely as a painting or sculpture, Jacob Hashimoto’s (b. 1973) dynamic
three-dimensional wall works are showcased in his third solo exhibition at Galerie Forsblom.
Fusing painterly composition with traditional Japanese artisanry, he combines materials such
as bamboo, rice paper and nylon thread.

Hashimoto’s installations are made up of hundreds of miniature paper kites which he
masterfully arranges to create delicate illusions of movement, space and light. The
overlapping translucent kites come together as multi-layered, multi-signifying installations.
While the details remain abstract and graphic, the overall effect is organic, evoking a
landscape. Hashimoto echoes the polyphonic iconography of our urban environment and
contemporary society by using repetition, patchworks of assorted patterns, and an exuberant
palette of colors.

"In the Cosmic Fugue" is Rhona Hoffman Gallery’s fourth solo exhibition of Jacob Hashimoto’s enormously imaginative and laboriously created work. The show will occupy the entire gallery with six new oil paintings and fourteen kite pieces, created from innumerable hand-painted and collaged rice paper and bamboo “kites,” Hashimoto’s signature medium. These visually striking, multi-dimensional works engross viewers through their organizational, geometric complexity, changing sight lines, and sheer beauty.

With In the Cosmic Fugue, the expansive and effervescent nature of Hashimoto’s work becomes more tightly organized and contained with bold visual graphics. His aesthetic inspiration stems from the space race era and 1960s California “Hard-edge” Abstraction. Unlike flat, High Modernist paintings; however, Hashimoto’s crisp lines fracture and transform as viewers move around his three-dimensional works.

A concern with space has always figured prominently in Hashimoto’s thinking, and "In the Cosmic Fugue" employs graphically minimal means to capture the cosmos’ vastness and infinite possibilities.

This is an important solo show which will flank the artist's well-known wall works with new sitespecific
ones in which he makes use of completely new and unusual materials. Hashimoto,
fascinated by the correlation between space, time, and the astral dynamics of planets and
constellations, has created a new series of works in the large rooms of Studio la Città itself; they
consist of interactive installations that involve the public completely. Also present in the show is a
new series of his traditional "kites" with which, once again, the artist gives a three-dimensional
expression to his deep links with nature, and which is here presented as a kind of abstract landscape
halfway between reality and the artificial.

A thought-provoking exhibition of twenty-first century painting, sculpture, video and furnishings representing the newest abstract work from today’s best artists.

David Pagel writes, “In one weird, hyphenated word, NOW-ISM insists that the works in it are both of the moment—particular to the circumstances in which they were made and attuned to the digital phase of the Information Age as it hurtles us through the first decade and a half of the twenty-first century—and outside of time: unshackled by the constraints of context and the restrictions of history because, as works of art, they are fully present in the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuity. The beauty of now is that it never grows old. Its biggest drawback is that it doesn’t last: Constantly slipping away, now never lets anyone rest with what happened yesterday. To attend to the works in this exhibition, you have to be on your toes, at the top of your game, attentive to details, alive to subtlety, and in touch with the peculiar poetry of visual experience.”

The theme of nature has always been a source of inspiration in the art world that , over time , has interpreted , reproduced and proposed using techniques , materials and tools. The close cooperation with the Conservatives and the scholars of the Museum of Natural History of Verona , who study the scientific aspects of nature , has created an opportunity overturned.

The theme of The Sea is as immense as the sea itself. It is not, however, a motif that has attracted very many visual artists. Landscapes have been the preferred motif by far. Denmark has been and is still considered a sea-faring nation. The entire country borders on sea or fjords. The Vikings ventured into the world on expeditions of conquest, and later we gradually acquired a navy as well as a merchant fleet. Today Denmark builds some of the largest container ships in the world, and in certain parts of the country, sections of the population still make a living by fishing.

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